Battle of the palaces
The "battle of the palaces" occurred in the Russian Empire in the last decade of the reign of Catherine II (1784–1796) and the reign of Paul I (1796–1801), with ripple effects extending into the beginning of the reign of Alexander I. A bitter standoff between Catherine and Paul, her only legitimate son and heir, manifested itself in transient political and ideological conflicts, but also had a lasting, tangible impact on Russian architecture. Both parties materialized their political statements and their understanding of sovereign power in expensivePaul's Saint Michael's Castle cost 6 million roubles in gold, 7 times more than Pella Palace - Lanceray, p. 123 construction projects involving the most illustrious architects of the period – Vasily Bazhenov, Vincenzo Brenna, Charles Cameron, Matvey Kazakov, Giacomo Quarenghi, Ivan Starov. Catherine's palace projects followed the neoclassical canon of the Age of Enlightenment, while Paul deliberately leaned to emerging Romanticism. Buildings that stylistically fell apart from these programs were demolished or rebuilt without hesitation. The "battle" began in 1785 with demolition of main palace in Tsaritsyno and culminated in 1796 with demolition of Pella, the largestShvidkovsky, p. 281 imperial palace in Saint Petersburg area. Background , an example of Catherine's taste in architecture in the last decade of her reign.]] Until 1722, the order of succession in Russia was based on primogeniture. In 1722 Peter I parted with tradition and enacted the monarch's right (and, in fact, obligation) to name his or her successor at will. The change was followed with a series of ; for most of the remaining 18th century the throne was occupied by women: Catherine I, Anna, Elisabeth, Catherine II. Catherine II ascended to the throne through the murder of her husband, Peter III when their only legitimate son, Paul, was seven years old. Paul retained affection to his late father throughout his life; with age, the feeling mutated into hatred for the mother. In the beginning of Catherine's reign Paul was vital to her survival, being the living symbol of dynastic continuity.Streeter, p. 71 By 1772, as Paul was coming of age, he displayed desire to participate in the government,Streeter, p. 82 and thus became a contender for his mother's absolute power. Catherine devised a plan to remove Paul from any involvement in politics: Paul had to marry, retire to quiet family life and produce a son that might become a better candidate for succession.Streeter, p. 99 This son, future emperor Alexander I, was born in 1777, and Catherine eagerly prepared him for an illustrious future although she never elevated her choice to a level of monarch's written will. Paul, in his turn, grew more and more suspicious of anything done by his mother,Streeter, pp. 107, 109, 117 and even almost boycotted Alexander's 1793 wedding ceremony.Streeter, p. 127 The political struggle between Catherine and Paul that initially "had secret significance hidden from the uninitiated but known to the court"Shvidkovsky, p. 282 became public and was well known in Saint Petersburg as well as in foreign courts.Shvidkovsky, p. 185, provides example of Claude Nicolas Ledoux referring to Alexander as "the new Alexander" and "Alexander of the North", i.e. Catherine's plans were well known at the French court. Catherine began changing architecture of Russia upon her ascension to throne.Cracraft, Rowland pp. 51, 52 She embraced two concepts, architecture as allegory of her political ideas, and architecture as policy of implementing these ideas.Cracraft, Rowland p. 51 Her tastes developed in stages, from French Rococo to Gothic Revival, until finally settling on Palladianism in the 1780s. Catherinian neoclassicism was based on French models leaning to ancient Roman forms. The choice also reflected Catherine's lifelong Greek Project,Cross, p. 292 the drive to take over Black Sea Straits from the Ottomans and re-establish the Byzantine Empire with her grandson Constantine as emperor. Paul, who detested Catherinian Enlightenment, considered classic architecture a dry, emotionally inadequate reproduction of antiques. Dmitry Shvidkovsky pointed to a 1782 meeting between Paul and French artist and antiquary Charles-Louis Clérisseau at Château de Chantilly as the event that could have shaped Paul's architectural tastes. Clerisseau, who knew he was admired by the empress, reprimanded the Russian heir-apparent for not paying him attention before and promised to report Paul's "disrespect" to Catherine; little else could hurt Paul's feelings more.Shvidkovsky, p. 293 The bitter exchange sealed Paul's tastes in favor of emerging Romanticism and, at the same time, French Baroque,Lanceray, p. 146 and sowed the seed for the "Battle of the Palaces". First strike - Matvey Kazakov's core reconstructed during 2005–2007.]] In 1775 Catherine approved Vasily Bazhenov's drafts of Tsaritsino Palace, but upon actually seeing the nearly complete structure on , she found it highly displeasing, scorned Bazhenov and ordered immediate demolition. In her letter to Paul she only mentioned that "Kremlin Senate and Tsaritsyno are not ready yet". The mechanism of destruction was already underway, although at a slow pace. Catherine signed a formal decree to raze Bazhenov's palaces and authorized Matvey Kazakov's drafts on . Neither Bazhenov's affiliation with free masons, nor his Gothic Revival architecture were at fault.Shvidkovsky, p. 282, argues that most of masonic ornaments survived to date unaltered and that Kazakov, Bazhenov's successor as chief architect in Tsaritsino, also worked in Gothic style. Numerous Gothic buildings, bridges and follies in Tsaritsyno, designed by Bazhenov, stand to date; Catherine's anger was directed against the main palaces alone. Bazhenov, however, made a mistake by sticking to the 1775 plans that provided for two identical palaces for Catherine and Paul centered around the public core building. In 1775 the equality of mother and son was in line with Catherine's policy, but by 1785 their relations were irreversibly strained. Catherine dismissed Bazhenov and invited Kazakov to rebuild the palace with only one main building – her own.Shvidkovsky, p. 282 It was structurally completed in 1790s but abandoned after Catherine's death. It stood in ruins for over two centuries and was rebuilt into a modern convention center in 2005–2007. Pavlovsk (Paul's folly) in Pavlovsk]] Pavlovsk, Paul's (and later Maria Feodorovna's) estate since 1777, was designed and built by Scottish-born Palladian neoclassicist Charles Cameron. Paul disliked Cameron simply because he was his mother's protégé.Cameron had a reputation of being a difficult man; he alienated a lot of people in his life (Cross, p. 296) and even drove his own father into jail (Colvin, p. 212) but there is little evidence of significant clashes between him and Paul or Maria before 1785. Paul and Maria however had their budget constraints and regularly intervened to prevent cost overruns. Cameron did display aversion to their instructions since 1782, but court intermediaries kept the conflict hidden (Lanceray, p. 42). Cameron's Pavlovsk was far from Paul's vision of what an imperial residence should be: it lacked moats, forts and all other military paraphernalia so dear to Paul; "Cameron created a markedly private world for the Grand Duke. The palace could have belonged to anyone... not to the tsar of Russia in waiting."Shvidkovsky, p. 283 In 1786, while demolition crews in Tsaritsino were razing Bazhenov's towers, Paul dismissed Cameron and replaced him with Vincenzo Brenna. Paul personally hired Brenna, then employed by Stanisław Kostka Potocki, in 1782, and used him in 1783–1785 to visualize his architectural fantasies;Lanceray, p. 85 the heir and the architect developed a particular spiritual bond, sharing the same philosophy of art: "Paul was the first emperor of the Romantic era, Brenna was the precursor of Romantic Neoclassicism."Shvidkovsky, p. 294 Brenna left Cameron's palace core intact, extending it with side wings; although he remodeled the interiors, they bear traces of Cameron's style to date. However, Maria's private suite and the militaria displayed in public halls are attributed to Brenna alone.Lanceray, pp. 47–49 More important, Brenna "militarized" the setting by building a Gothic folly, Bip fortress, on the ruins of actual Swedish forts of the Great Northern War. Paul was so fascinated with Bip that he listed the folly on the Army register of real fortresses.Lanceray, p. 52 After the death of Catherine, Paul and Brenna expanded the Pavlovsk estate with real military barracks, officers' quarters and a hospital. Paul instructed Brenna to scavenge Catherine's most recent, incomplete, buildings for materials; Cameron's Rose Field PavilionNot to be confused with Rose Pavilion in Pavlovsk built by Andrey Voronikhin in 1807–1812. ( ), New Gallery and Temple of Memory in Sophia parkHayden 2005, p. 94Cracraft, Rowland p. 59 disappeared without trace, while the Chinese Village in Tsarskoye Selo lost its elaborate exterior finishes.Lanceray, p. 51 Pella shows only three of twenty-five buildings of what was Russia's largest imperial palace]] In 1784 Catherine ordered construction of a country residence for her grandson, Alexander. The name, Pella Palace, invoked the memories of Alexander the Great and Pella, the capital of ancient Macedon. The message was clear: Alexander, then seven years old, was the new ruler, although legally Paul remained first in line for succession.Shvidkovsky, p. 286 Pella, designed by Ivan Starov, was the largest Russian imperial palace of the period, and more complex in composition than anything in Russia. The core palace was encircled with twenty four smaller buildings in Palladian style connected with double-colonnaded galleries. Catherine called Pella "rising phoenix", alluding to Alexander's ascension to power after her own death.Shvidkovsky, pp. 286-287 After Pella, Catherine commissioned two more palaces for Alexander. The first, a diminutive Alexander Dacha near Pavlovsk, was designed by either Nikolay Lvov or Charles Cameron. It was completed in 1789; unusually for Catherinian architecture, it combined a neoclassical ground floor and an Oriental tented belvedere with a gilded dome. The dacha, once described as a "temple of the rosebush with no thorns", was later abandoned, sold to private owners and demolished in 1851.Lanceray, p. 51 The second, extant Alexander Palace in Tsarskoye Selo, was built in 1792-1796 by Giacomo Quarenghi as a wedding gift to Alexander and Elisabeth (Louise of Baden). The palace survived Paul's reign and passed to Alexander's brother, future tsar Nicholas. Immediately after Catherine's death, Paul ordered Pella razed to the ground; the order was executed perfectly, leaving no trace of the vast palace compound.Shvidkovsky, p. 288 Not only the buildings were demolished, but virtually all images of it also vanished. Saint Michael's Castle . Note scaffolding around the unfinished castle.]] Paul's dreams, visualized by Brenna in 1780s, materialized in Saint Michael's Castle – the emperor's principal Saint Petersburg residence intended to replace the Winter Palace associated with Catherine's reign. The site chosen for the castle was highly significant to Paul: it housed the wooden Summer Palace of empress Elisabeth, it was Paul's birthplace, but also a place where his dreaded mother was proclaimed empress by the same people who killed his father.Shvidkovsky, p. 288 Paul said that he had a vision of Archangel Michael who instructed him to erect a church on his birthplace, and indeed the castle designed by Brenna had a prominent church integrated in its western facade. Authorized immediately after Catherine's death, the castle was completed by Brenna in four years and occupied by the royal family shortly before Paul's own death. It had a strong Baroque styling clearly contrary to Catherinian palladianism.Shvidkovsky, p. 289 Paul I was killed in Saint Michael's Castle . Brenna, Carlo Rossi and many other Italian artists employed by the late emperor left Russia. Alexander and his court relocated to Winter Palace, his Office of the Court ( ) converted the redundant castle into offices and living quarters. Soon the former palace housed nearly 900 residents, including future field marshal von DiebitschLanceray, p. 146 and, ironically, retired Charles Cameron and his wife.Cross, p. 296 In 1819 the building was converted into a military college; palace park, forts and moats eventually disappeared. Aftermath During the decade that separated Paul's death in 1801 and the French invasion of Russia in 1812, the Saint Petersburg court and its architects refined and modified Catherinian neoclassicism into the Russian version of Empire style. Alexander I has not actively engaged with architecture until post-war reconstruction, although he clearly preferred the art of Quarenghi, Thomas de Thomon and Andrey Voronikhin;Lanceray, p. 198 construction of Voronikhin's Kazan Cathedral was launched just weeks after Paul's death. Outside Saint Petersburg, various Romantic styles based on Neo-Gothic architecture coexisted with prevailing official art. The aging architects involved in the "battle of the palaces" retired, making way to a new generation: * Ivan Starov, architect of Pella Palace, retired before Paul's ascension and died in 1808. His last significant work, a cathedral in Kazan, was completed in 1796. * Charles Cameron returned to active service in 1803 as chief architect of the Russian Admiralty; in two years he completed the Navy Hospital in Oranienbaum and prepared drafts for the Naval Cathedral in Kronstadt.Colvin, pp. 212-213 He retired with honors in 1805Colvin, pp. 212-213 and lived in Saint Michael's Castle until his death in 1812.Lanceray, p. 146 * Matvey Kazakov completed scores of private and public neoclassical buildings and a Neo-Gothic cathedral in Moscow. In 1806 he was accused of mismanaging public money; no criminal charges were made but he was fired from all government contracts. Kazakov died in 1812, shortly after hearing the news that most of his works perished in the Great Moscow Fire of 1812. * Giacomo Quarenghi enjoyed a revival of his career in 1803–1808 when he created Smolny Institute, the Catherinian Institute, the Imperial Cabinet of Anichkov Palace and other Saint Petersburg landmarks. He was raised to the hereditary nobility in 1814 and died in 1817. * Vincenzo Brenna settled in Dresden, Saxony and did not practice architecture ever after; he died in 1820.Lanceray, pp. 201-204. Note that Brenna's retirement coexisted with the Napoleonic Wars, when construction projects were rare Carlo Rossi returned to Saint Petersburg, assuming the de facto role of city architect in 1814.Brumfield, p. 188 His career in architecture extended into the 1830s. Referencesand notes Sources * * * * * * * Category:Political history of Russia Category:House of Holstein-Gottorp-Romanov Category:Russian architecture Category:Palaces in Russia